The room where Ulrike Lienbacher presented over sixty drawings, one above the other, seemed to be peopled by plastic stools. Her sensitive, schematic lines sketch figural poses, hands, and heads—but no faces, perhaps to evince all the more perfectly the graphic renderings of hairstyles. Through sparing use of color, Lienbacher accentuates particular details: fingers, soles of feet, or strands of hair. The girlish figures evoke iconographic memories: seated, kneeling, or slightly turned body positions familiar to us from the history of art. What at first glance look like classical studies for